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MANUAL 


SCOTT,  fORESMAN  AND  COMPANT 
CHICAGO      -    -  -     NEW  YORK 


Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/artcoursechicagoOOchicrich 


ART  COURSE 

CHICAGO  PUBLIC  SCHOOLS 

MANUAL     ^ 

BOOKS  FOUR,  FIVE,  SIX,  SEVEN,  EIGHT 


PREPARED    BY 
EMMA  MARCH 

AND 

LUCY  S.  SILKE    ' 

Department  of  Art,  Chicago  Elementary  Schools 


SCOTT,  FORESMAN  AND  COMPANY 
CHICAGO  NEW  YORK 


I)CU20 


cf 


CONTENTS 


PAGE 

I.  PURPOSE  OF  THE  COURSE  --------3 

II.  GENERAL  PLAN  OF  THE  BOOKS  -  -  _  _  _  5 

IIL  MATERIALS  AND  MEDIUMS  -------9 

IV.  METHODS-  -------------14 

V.  DESCRIPTION  OF  PAGES     --------21 


Copyright  1914  by 
SCOTT,  FORESMAN  AND  COMPANY 


ART  COURSE 

CHICAGO  PUBLIC  SCHOOLS 

I    PURPOSE  OF  THE  COURSE 

THIS  course  was  prepared  in  response  to  a  need  for 
reference  material,  in  a  form  coiivenient  for  pu- 
pils '  use,  which  should  illustrate  the  Course  of  Study  in 
Art  in  the  Elementary  Schools  of  Chicago,  and  aid  in 
establishing  a  more  definite  Art  standard  within  the 
schools.  There  are  five  books  in  the  series,  Four  to 
Eight,  inclusive.  They  contain  reproductions  of  paint- 
ings, photographs,  and  drawings  prepared  especially 
for  the  course,  illustrating  the  Art  principles  to  be 
taught  in  each  grade;  and  in  addition  to  these,  fine 
examples  of  the  same  principles  and  technique  illus- 
trated in  the  work  of  masters. 

These  illustrations  are  for  the  inspiration  and  guid- 
ance of  pupils,  to  stimulate  their  imaginations  through 
the  language  of  Art,  to  awaken  and  strengthen  percep- 
tions of  beauty,  in  line,  form,  and  color,  to  explain  proc- 
esses, suggest  suitable  subjects  and  treatment  of  mate- 
rials and  furnish  incentives  to  a  practical  use  of  the 
Art  knowledge  acquired  through  study  and  practice. 
TjLe_jmportanc e  ^  -<jr-^ative-  work-  -^  a  -knm\4^dge"'ei 
form  and  color  derived  directly  from  the  study  of  life        \ 
and  nature  is  em^fiasized  by  the  introduction  of  designs     (  ^ 
in  which  nature  and  life  forms  are  used  as  units,  and  of        .  .^ 
landscape  and  figure  compositions  in  which  apprecia-"' 
tion  of  character  in  form  and  color  is  an  essential 
element.  • 

3 

357636 


4^,   „  ..MANUAL  GHICAGO  ART  COURSE 

The  material  in  each  book  bears  directly  upon  the 
work  of  the  grade,  and  is  sufficiently  varied  to  be 
adapted  to  the  needs  of  different  neighborhoods.  The 
new  points  in  each  grade  are  illustrated  as  fully  as 
space  will  permit;  in  subsequent  grades  the  advance 
only  is  indicated. 

The  work  in  original  design  may  be  easily  adapted  to 
the  materials  and  processes  used  in  the  construction 
work  of  the  grade.  The  adaptation  of  a  design  to  a  par- 
ticular material  or  process,  such  as  basketry,  needlework, 
woodwork,  etc.,  is  a  shop  problem  and  is  therefore  a 
matter  of  adjustment  between  the  Art  teacher  and  the 
teacher  of  the  craft  to  which  it  is  to  be  applied. 

The  printed  matter  on  each  page  explains  the  pur- 
pose of  the  illustrations,  and  suggests  a  simple  vocabu- 
lary for  the  use  of  pupils  and  teachers.  The  terms 
used  are  to  be  considered  as  part  of  the  course. 

The  source  and  location  of  each  work  of  Art  are 
noted,  whether  in  Museum  or  private  Art  Collection, 
whether  loaned  by  artist,  owner,  or  Art  publication, 
in  order  that  pupils  may  know  something  of  the  re- 
sources of  their  own  country  and  locality  in  the  way 
of  incentives  to  further  study.  Pupils  are  encouraged, 
when  passing  to  a  higher  grade,  to  take  with  them  the 
books  of  the  grades  below,  that  they  may  have  them 
to  refer  to  when  reviewing.  The  series  when  complete 
may  form  the  nucleus  of  an  Art  Library,  to  be  added  to 
from  time  to  time  as  the  Art  Education  of  the  student 
progresses. 

The  cordial  cooperation  of  the  contributors,  whose 
generosity  and  public  spirit  in  responding  to  requests 
for  permission  to  reproduce  works  of  Art  in  their  col- 
lections has  made  this  publication  possible,  is  called  to 
the  attention  of  pupils  and  teachers  in  the  foreword. 


II  GENERAL  PLAN  OF  THE  BOOKS 

THE    illustrative    material   in   each    book   may   be 
grouped  as  follows: 

1.  Object  Drawings :  Drawings  from  Nature,  from  Life, 

and  from  Groups  (still  life). 

2.  Designs:  (a)  Arrangements  in  Borders,  Surface  Pat- 

terns, and  Panels,     (b)  Lettering,  Book  Covers, 
etc. 

3.  Photographs  from  Life  and  from  Nature. 

4.  Examples  of  Drawings  from  Nature  and  from  Life, 

of  Figure  and  Landscape  Composition  and  of 
Applied  Design,  from  Masters. 

The  pages  in  each  book  are  intended  to  be  studied 
according  to  subject,  not  necessarily  in  the  order  in 
which  they  appear.  Pages  may  be  grouped  for  refer- 
ence in  various  ways,  according  to  the  needs  of  the 
class  and  the  requirements  of  the  subject.  For  exam- 
ple, in  Book  IV,  when  studying  the  page  illustrating 
drawings  from  the  figure  (page  5)  attention  may  also 
be  directed  to  the  examples  of  portraiture  by  a  Master, 
page  14,  and  of  the  use  of  the  figure  in  illustration, 
pages  12  and  13.  The  use  of  charcoal  as  a  medium  for 
the  expression  of  form  and  of  dark  and  light  values  is 
illustrated  in  the  drawing  of  the  orchard  by  Wm. 
Morris  Hunt,  on  page  10,  as  well  as  in  the  drawing  of 
the  figure  on  page  5  and  the  birds  on  page  6.  The  draw- 
ings of  the  daisy  on  page  4  may  be  referred  to  when 
studying  the  daisy  borders  on  page  17,  to  show  the 
connection  between  the  study  of  flowers  by  means  of 
drawing  and  the  use  of  flower  units  in  design. 

5 


6  MANUAL  CHICAGO  ART  COURSE 

The  principles  of  unity  upon  which  structure,  as  well 
as  ornament,  depends  are  illustrated  not  only  in  the 
simple  designs  shown  in  each  book,  but  also  in  the 
examples  of  fine  construction  and  applied  design  in 
textiles,  wood,  metal,  and  clay. 

Other  ways  of  grouping  the  reference  material  given 
will  suggest  themselves  to  the  teacher.  Pages  which 
are  already  familiar  to  pupils  through  study  in  one 
connection  may  be  referred  to  again  to  illustrate  new 
points,  and  the  book  of  a  lower  grade  may  be  used 
to  advantage  in  reviewing  subjects,  principles,  and 
applications. 

1.     OBJECT  DRAWINGS 

Drawings  from  life,  from  nature,  and  from  groups : 
Flowers,  Fruit,  Trees,  Landscapes,  Figures,  Birds,  Ani- 
mals, Pottery  with  ^fruits  or  vegetables.  In  color 
(chalk  or  water  color),  in  charcoal,  in  brush  and  ink, 
and  in  pencil. 

These  drawings  are  to  illustrate  simple  direct  ways 
of  handling  the  different  mediums  suggested,  to  show 
the  possibilities  of  the  medium  when  used  by  an  expert, 
and  to  encourage  pupils  to  perfect  their  own  technique 
by  using  the  medium  in  the  same  way.  Both  subject 
and  handling  increase  in  complexity  from  grade  to 
grade,  the  aim  being  to  arouse  interest,  stimulate  ob- 
servation, and  encourage  progress,  in  the  expression  of 
characteristic  beauty  in  form  and  color. 

In  order  to  make  room  for  fresh  material  in  each 
grade,  subjects  and  technique  which  have  been  suffi- 
ciently explained  in  one  book  are  omitted  from  the  next. 
In  reviewing,  teachers  are  expected  to  make  use  of  the 
preceding  book  when  necessary.  For  example,  when  draw- 
ing flowers  in  colored  chalk,  fifth  grade  pupils  may  refer 
to  Book  IV,  page  2.    When  drawing  flowers  in  water  color, 


ELEMENTARY  GRADES  7 

seventh  grade  pupils  may  refer  to  Book  VI,  pages  3 
and  4.  When  drawing  groups  and  landscapes  in  water 
color,  tree  types,  flowers,  and  figure  pose  in  brush  and 
ink,  and  charcoal  group  without  background,  eighth 
grade  pupils  may  refer  to  Book  VII,  pages  3,  4,  5,  7,  12, 
and  14. 

2.     DESIGNS 

(a)  Units  from  Nature  and  from  Life^Flowers,  Fruit, 

Foliage,  Birds,  Animals,  Figure) ;  Geometric 
Units;  Arrangements  in  Borders,  Surface  Pat- 
terns, Panels. 

(b)  Suggestions  for  Applied  Design:     Book  Covers, 

Lettering,  etc. 

These  drawings  indicate  the  character  of  the  units 
and  arrangements  recommended  for  the  exercises  in 
each  grade,  and  illustrate  the  principles  of  composi- 
tion which  are  to  be  made  the  basis  of  the  work  in 
design.  They  exemplify  rhythm  and  subordination  in 
simple  as  well  as  in  complex  arrangements,  in  color  and 
in  black  and  white,  and  in  two  or  more  tones. 

Pupils  in  seventh  and  eighth  grades  may  refer  to 
Book  VI  for  examples  of  nature  units  and  of  free  brush 
work  in  design.  These  have  been  omitted  from  Books 
VII  and  VIII  in  order  to  make  room  for  illustrations 
bearing  more  directly  upon  the  advance  work  of  the 
grade. 

The  alphabets  suggested  for  use  in  designing  book 
covers,  book  pages,  etc.,  are  the  Roman  capital  and  the 
Roman  small  letter,  the  originals  of  our  best  modern 
letter-forms.  Variations  of  these  letter-forms,  illus- 
trating the  same  basic  principles  of  legibility  and 
beauty,  are  given  in  the*  suggestions  for  book  covers, 
initials,  etc.,  in  the  different  books. 


8  MANUAL  CHICAGO  ART  COURSE 

3.     PHOTOGRAPHS 

Photographs  from  Life  (Figures,  Animals),  and  from 
Nature  (Trees,  Landscapes,  Buildings),  are  introduced 
in  the  earlier  books  of  the  series  (IV,  V,  and  VI),  to 
help  pupils  in  imaging  familiar  types,  and  in  associat- 
ing distinctive  character  with  distinctive  form. 

In  addition  to  the  photographs  illustrating  types  of 
trees,  animals,  etc.,  examples  of  photographs  expressly 
selected  to  show  the  use  of  simple  tones  are  given  in 
each  book.  ''Mother  and  Child,"  on  page  14  of  Book 
IV,  ''Old  Deerfield,"  on  page  12  of  Book  V,  and  "The 
Tower,"  on  page  20  of  Book  VI,  are  examples  by 
masters  in  this  medium.   . 

4.     REPRODUCTIONS  FROM  MASTERPIECES 

(a)  Flowers,  Birds,  Animals,  Figure   and  Landscape 

Compositions. 

(b)  Applied  Designs:   Textiles,  Basketry,  Needlework, 

"Wood,  Metal,  Leather,  Clay. 

Reproductions  from  masterpieces  are  introduced  into 
this  course  for  the  express  purpose  of  broadening  and 
clarifying  the  Art  knowledge  of  pupils  and  teachers,  of 
establishing  an  appreciative  attitude  toward  the  best 
in  Art  expression  and  of  furnishing  inspiration  for  a 
higher  standard  of  Art  production  in  the  community. 
The  selections  have  been  made  in  accordance  with  the 
best  standards  in  modern  Art  criticism.  They  represent 
well-known  artists  and  collections,  and  include  reproduc- 
tions of  paintings  and  of  charcoal,  pencil,  and  brush 
drawings  in  tone  and  in  color;  also  of  applied  designs 
in  various  materials  appropriate  for  school  projects. 
While  both  subject  and  treatment  are  those  of  a  master, 
they  are  in  every  case  such  as  may  be  easily  under- 
stood by  children. 


Ill    MATERIALS  AND  MEDIUMS 
1.     MATERIALS 

THE  course  contemplates  the  use  of  the  following 
materials:  Manila  Drawing  Paper,  Gray  Chalk 
Paper,  Charcoal  Paper,  Engine  Paper  (colored  and 
black).  Water  Colors,  Colored  Chalk,  Charcoal,  Draw- 
ing Pencils,  Kneaded  Erasers,  Fixatif. 

Manila  Drawing  Paper  is  used  for  pencil,  charcoal, 
water  color  and  ink  drawing  in  all  grades,  also  for  free 
cutting  in  the  preparatory  work  in  design.  Sizes  6"x9", 
9"icl2",  or  12"icl8"  are  used,  according  to  the  grade, 
and  to  the  requirements  of  the  exercise. 

Gray  Chalk  Paper  is  a  heavy  rough  paper,  specially 
prepared  for  colored  chalk  drawing.  It  is  furnished 
in  the  same  assortment  of  sizes  as  the  Manila  paper. 

Charcoal  Paper,  size  12''icl8",  is  recommended  for 
advanced  work  in  seventh  and  eighth  grades. 

Engine  Paper  is  used  for  free  cutting  in  the  prepara- 
tory work  in  design,  and  is  furnished  in  packages  of 
assorted  colors  and  black,  size  5''icl0". 

For  Water  Color  Drawings,  the  three-color  box,  any 
standard  make,  is  recommended.  Black  is  sometimes 
added  to  this  assortment  for  the  work  in  design.  Large 
water  color  brushes  are  advised. 

A  Special  Assortment  of  colored  chalk  (No.  1  quality. 
School  Crayons)  is  used.  Each  box  contains  six  colors : 
Carmine,  Indian  Red,  Yellow,  Dark  Blue,  Light  Blue, 
Dark  Green. 

Any  standard  make  of  drawing  pencil,  charcoal, 
kneaded  eraser,  and  fixactif  may  be  used. 

9 


10  MANUAL  CHICAGO  ART  COURSE 

2.     MEDIUMS 

1.  Charcoal  is  preferred  to  pencil  in  the  elementary 
grades  for  mass  drawing  in  dark  and  light.  Its  respon- 
siveness to  the  touch,  requiring  no  pressure,  and  the 
ease  with  which  impressions  may  be  quickly  recorded, 
make  it  an  ideal  medium  for  training  in  appreciation 
of  mass  forms  and  color  values.  Practice  in  using  this 
medium  will  help  pupils  to  form  the  habit  of  working 
synthetically;  that  is,  of  looking  for  essential  charac- 
teristics first,  expressing  main  proportions  in  mass,  and 
developing  details  in  the  order  of  their  importane^^ 

Simple  tones  expressing  the  relative  values  of  the 
colors  in  the  object  are  recommended  in  the  earlier 
grades  for  the  sake  of  keeping  the  problems  simple. 
As  pupils  advance  through  the  grades,  color  values  are 
expressed  more  in  detail,  but  still  kept  simple.  In  the 
eighth  grade  light  and  shade  is  included  in  the  study 
of  values,  but  is  not  considered  apart  from  color. 

In  the  majority  of  the  charcoal  drawings  from  the 
object  no  background  is  required.  Where  the  addition 
of  a  background  simplifies  the  problem,  as  in  the  case 
of  white  fiowers  (pages  3  and  5  of  Books  V  and  VI 
and  page  9  of  Book  YIII),  a  gray  paper  or  cloth  is 
placed  behind  the  study  to  make  the  white  masses 
stand  out  more  distinctly.  This  background  is  repre- 
sented in  the  drawing  by  a  charcoal  tone  of  the  same 
value.  The  light  masses  of  the  flowers  are  then  lifted 
out  from  this  tone  with  the  eraser,  and  the  leaves, 
stems,  etc.,  drawn  into  it  with  the  charcoal.  In  the 
group  drawing  on  page  5  of  Book  VIII  and  the  portrait 
on  page  10,  backgrounds  are  included  for  the  sake  of 
the  study  of  relative  values,  and  to  add  a  new  interest 
to  the  composition,  namely,  that  of  a  complete  picture. 


ELEMENTARY  GRADES  11 

At  least  one  fine  example  of  charcoal  handling  by  a 
master  has  been  included  in  each  book  of  the  series. 

2.  Water  Color.  Free  brush  drawing  in  water  color 
is  recommended  for  training  in  color  appreciation  and 

in  the  use  of  a  transparent  color  medium.    The  effect  of  /  / 
brilliant  fresh  color  in  the  examples  given  of  brush  /  | 
drawing  from  nature  is  secured  by  mixing  the  colors ' 
in  the  brush  and  painting  directly  with  a  full  brush 
into  a  thoroughly  dampened  paper. 

The  same  method  is  used  for  painting  other  subjects 
suitable  for  color  study  but  not  illustrated  in  color  in 
the  books,  such  as  figure  posing,  birds  or  animals,  trees 
or  landscapes  out  of  doors. 

Water  color  is  also  used  for  design  in  the  three 
higher  grades;  color  schemes  made  from  nature  (flowers,  A 
etc.),  or  from  the  examples  of  applied  design  in  the  i? 
books,  are  recommended  for  the  introductory  work. 
Examples  of  the  use  of  one  color  and  black,  two  tones 
of  one  color,  or  two  or  three  related  colors  will  be 
found  in  every  book,  to  aid  pupils  in  securing  harmo- 
nious combinations.  The  colors  are  mixed  in  the  pan 
and  applied  in  a  flat  wash  on  a  dampened  paper,  or  the 
design  is  printed  in  color  by  means  of  a  stencil  and  a 
stiff  brush. 

3.  Colored  Chalk.  Colored  chalk  is  recommended 
for  object  drawing  and  original  illustration  in  the 
earlier  grades,  for  training  in  color  appreciation,  and 
to  give  practice  in  the  use  of  an  opaque  medium  with 
which  colors  may  be  mixed  on  the  paper.  The  chalk  is 
held  lightly  and  drawn  back  and  forth  over  the  paper 
without  pressure.  Variations  of  color  are  secured  by 
drawing  one  color  lightly  over  another  without  rub- 
bing. Gray  chalk  paper  J&  preferred  for  this  medium, 
as  the  neutral  tone  of  the  paper  helps  to  dilute  the 


12  MANUAL  CHICAGO  ART  COURSE 

color.    The  examples  of  flower  drawing  in  colored  chalk 

in  Book  IV  show  the  method  of  handling  this  medium. 

Figure  posing,  drawing  from  birds,  animals,  trees, 

or  landscape  are  also  suitable  subjects  for  this  medium. 

4.  Brush  and  Ink.  Free  brush  drawing  in  ink  is  rec- 
ommended for  training  in  the  power  of  rapid  and  direct 
expression  of  form  in  a  medium  limited  to  two  dimen- 
sions. When  used  for  memory  and  object  drawing  in 
these  grades  it  continues  and  amplifies  the  training  in 
the  study  of  the  silhouette,  begun  in  the  grades  below 

|;by  means  of  free  paper  tearing  and  cutting.  By  the 
jlimination  of  color  and  tone  problems,  this  method  of 
expression  helps  pupils  to  concentrate  their  attention 
upon  the  essentials  of  form  and  proportion  independent 
of  color.  Brush  and  ink  are  recommended  for  memory 
drawings  of  figures,  birds,  animals,  trees,  etc.,  as  well 
as  for  the  drawings  from  nature  suggested  in  the 
books.  The  responsiveness  of  the  brush  helps  to  bring 
the  hand  under  the  control  of  the  will. 

The  free  brush  work  in  design,  which  from  the  sixth 
grade  up  follows  the  free  brush  work  from  nature, 
utilizes  the  power  gained  in  controlling  form,  in  the 
cultivation  of  appreciation  of  rhythm  and  pattern  in 
space  relations. 

The  brush  should  be  well  charged  with  ink  and  held 
in  an  upright  position  at  least  three  inches  from  the 
point,  that  the  arm  may  move  freely  and  the  ink  flow- 
readily  from  the  brush.  Practice  in  using  brush  and 
ink  w^ill  give  pupils  confidence  in  painting  with  water 
color. 

5.  Pencil.  Pencil  drawing  is  used  in  this  course 
wherever  accurate  observation  and  expression  of  the 
details  of  form  and  structure  are  essential  to  progress. 
Drawing  in  pencil  outline  is  a  valuable  way  of  concen- 


ELEMENTARY  GRADES  13 

trating  attention  upon  characteristic  growth,  structure, 
and  foreshortening  in  leaves,  flowers,  etc.,  preparatory 
to  the  use  of  nature  forms  in  original  design.  It  is 
also  recommended  in  the  higher  grades  for  the  study 
of  structural  details  in  handles,  spouts,  etc.,  in  connec- 
tion with  group  drawing,  for  advanced  work  in  draw- 
ing from  the  figure  or  from  animals,  and  for  the  draw- 
ing required  in  some  of  the  projects  in  design. 

6.  Paper  and  Scissors.  Free  cutting  of  units  in 
paper,  either  black  or  manila,  is  recommended  in  these 
grades  for  practice  work  in  original  design.  Expe- 
rience in  arranging  and  spacing  original  units  in 
accordance  with  definite  principles  of  composition  will 
help  pupils  to  understand  the  importance  of  these 
principles  and  how  to  apply  them  in  design. 

In  the  earlier  grades,  black  and  manila  paper  or  col- 
ored papers  are  used  for  cutting  and  pasting  units  in 
repeated  patterns.  In  sixth,  seventh,  and  eighth  grades, 
the  use  of  black  and  manila  paper  is  continued  in  the 
introductory  work  in  design,  in  making  units  and  for 
practice  in  spacing,  but  not  for  repeated  patterns. 


IV    METHODS 

1.    Methods  in  Object  Drawing 

In  arranging  studies,  the  age  of  the  pupils,  the  time 
available  for  the  lesson,  and  the  medium  to  be  em- 
ployed should  be  considered.  Suitable  studies  for  the 
grade  are  illustrated  on  the  pages  devoted  to  object 
drawing.  For  the  work  from  flowers,  groups,  etc., 
drawing  paper  similar  to  that  furnished  the  pupils 
is  placed  behind  the  study,  to  assist  the  eye  in  locating 
the  different  parts  of  the  objects  and  in  placing  them 
correctly  with  reference  to  each  other;  also  in  deter- 
mining color  values.  When  it  is  desired  to  add  another 
tone  to  the  study,  as  in  the  case  of  white  flowers,  or  as 
in  the  advanced  work  from  groups  in  the  eighth  grade, 
a  gray  background  is  substituted  for  the  manila  paper 
and  the  relative  values  of  the  colors  in  the  objects  and 
in  the  background  are  expressed  in  the  drawing. 

Sympathetic  and  intelligent  guidance  in  studying 
the  essentials  of  form,  position,  proportion,  color  and 
color  values,  with  training  in  simple  direct  ways  of 
rendering  them,  will  insure  growth  in  the  power  of 
observation  and  of  graphic  expression.  The  medium 
employed  is  determined  by  the  nature  of  the  subject 
and  the  needs  of  the  class.  The  limitations  as  well  as 
the  advantages  of  each  medium,  with  suggestions  in- 
tended to  guide  teachers  in  their  choice,  are  given  else- 
where in  this  pamphlet. 

Flowers,  foliage,  etc.,  are  used  for  object  drawing 
lessons,  not  only  because  of  their  intrinsic  beauty,  but 
also  because  they  furnish  a  wide  variety  of  themes  for 

14 


ELEMENTARY  GRADES  15 

use  in  design.  Units  derived  from  Nature  forms  are 
used  in  repeated  patterns;  pencil  drawings  in  which 
details  of  form  and  structure  have  been  carefully  noted 
furnish  suitable  material  for  flower  composition;  also, 
color  schemes  from  flowers  may  be  used  in  design. 

Birds  and  animals,  interesting  to  children  as  forms  of 
life,  are  also  profitable  subjects  for  object  drawing  in 
these  grades.  They  may  be  studied  injthe  schoolroom, 
at  home  or  out  of  doors,  and  drawn  d^irectly  from  life ; 
or  they  may  be  studied  out  of  doors  or  in  pictures  and 
drawn  from  memory  in  class.  The  distinguishing 
characteristics  of  many  familiar  types  are  readily 
utilized  in  design,  in  the  making  of  simple  units  for 
repeated  patterns,  and  as  subjects  for  composition  in 
panels. 

Trees  are  studied  out  of  doors  and  drawn  from  na- 
ture or  from  memory.  When  studied  in  photographs 
or  other  pictures,  memory  drawing  is  recommended. 
Tree  forms  are  used  in  illustration,  in  landscape  com- 
position ;  also  in  design,  as  units  for  repeated  patterns 
or  as  subjects  for  composition  in  panels. 

Landscapes,  hiiildings,  etc.,  are  drawn  from  nature 
or  from  memory.  In  city  schools  where  systematic 
study  out  of  doors  is  not  possible,  memory  drawing  of 
interesting  buildings  or  localities  in  the  neighborhood 
is  recommended;  or  in  the  higher  grades,  sketching 
of  interesting  buildings,  roofs,  towers,  etc.,  from  the 
window.  Drawings  from  out  of  doors,  from  the  win- 
dow, and  from  memory  may  be  used  as  the  basis  for 
original  work  in  illustration  and  as  material  for  orig- 
inal compositions. 

Groups  of  pottery,  or  of  fruit  or  vegetables  with  pot- 
tery, introduce  the  study  of  the  perspective  relation  of 
objects  to  each  other,  and  give  examples  of  group  com- 


16  MANUAL  CHICAGO  ART  COURSE 

position.  They  should  be  placed  enough  below  the  level 
of  the  pupils'  eyes  to  give  opportunity  for  the  study 
of  the  perspective  relations.  Not  less  than  three  groups 
are  recommended  for  an  ordinary  schoolroom,  arranged 
so  that  each  pupil  may  have  a  good  view  of  the  compo- 
sition he  is  expected  to  draw. 

Drawing  from  the  Figure.  The  charm  and  variety 
of  form  and  color  in  the  figures  of  children  at  work  or 
at  play  make  them  always  interesting  and  profitable 
subjects  for  object  drawing  in  these  grades.  Action  is 
shown  in  a  drawing  by  the  location  or  position  of  the 
various  parts  of  the  body,  and  likeness  by  characteris- 
tic form  and  proportion.  When  the  figure  is  at  rest, 
drawings  are  usually  made  directly  from  the  pose,  in 
charcoal  or  color.  When  the  figure  is  actually  in  mo- 
tion, as  in  games,  or  the  pose  is  such  as  can  be  held  only 
for  a  moment,  the  drawing  is  necessarily  from  memory. 
When  posed  in  the  schoolroom  the  model  should  be 
placed  far  enough  away  from  the  pupils  to  simplify  de- 
tails and  to  minimize  the  effects  of  foreshortening. 
Children  will  draw  a  figure  suggesting  a  simple  definite 
action  in  better  proportion  than  one  uninteresting  or 
confused.  Color,  as  well  as  action,  helps  to  define  form, 
and  contrasts  of  color  or  of  dark  and  light  in  hair, 
clothing,  etc.,  will  assist  the  eye  in  rendering  form. 
For  memory  drawing,  the  use  of  brush  and  ink  is 
recommended. 

\  Practice  in  drawing  the  figure  in  brush  and'  ink  will 
Wive  pupils  confidence  in  drawing  from  the  pose  in 
1  Water  color. 

2.  Methods  in  Design 

The  exercises  in  original  design  suggested  for  these 
grades  are  based  upon  the  principles  so  ably  demon- 


ELEMENTARY  GRADES  17 

strated  by  Mr.  Arthur  W.  Dow  of  Columbia  University 
in  his  work  with  students ;  namely,  that  composition  is 
the  fundamental  process  in  all  the  arts  of  expression, 
and  that  systematic  training  in  original  composition 
will  develop  latent  powers  of  perception,  appreciation, 
and  judgment,  and  lead  to  the  intelligent  control  of 
space  and  color  relationships  in  Representation  as 
well  as  in  Design. 

The  method  recommended  for  the  preparatory  wor 
in  design  is  free  cutting  and  arrangement  of  units,  in 
black  and  manila  paper,  or  in  colored  paper  of  differ- 
ent values.  The  free  cutting  insures  a  simple  treat- 
ment of  the  form  and  gives  opportunity  for  study  of 
the  silhouette,  an  important  element  in  the  pattern. 
When  a  repeated  p'attern  is  to  be  made  in  paper,  as 
many  units  as  possible  are  cut  at  once  from  several 
thicknesses  of  paper.  Practice  in  arranging  and 
spacing  these  units  in  different  ways  upon  paper  of 
contrasting  tone,  illustrating  some  definite  principle 
of  composition,  is  given  before  pasting,  for  experience 
in  creating  patterns. 

The  principles  of  composition  referred  to  (rhythm, 
subordination,  etc.)  are  explained  through  study  of  the 
examples  given  in  the  Art  Course  Books.  Pupils  are 
encouraged  to  embody  these  principles  in  their  original 
work  through  the  free  exercise  of  their  own  judgment 
in  spacing  and  arrangement,  within  the  limits  of  the 
problem  assigned  them. 

Nature  units  are  made  preferably  from  nature  or 
life  forms  which  have  been  studied  through  drawing. 
They  may  be  cut  as  suggested  above,  or  drawn  freely 
with  brush  and  ink.  Free  brush  drawing  in  ink  or 
color  of  simple  units  in  repeated  patterns,  is  also  rec- 
ommended to  develop  the  sense  of  rhythm  in  pattern  and 


18  MANUAL  CHICAGO  ART  COURSE 

to  train  hand  and  eye  to  accuracy  in  spacing.  This  is 
followed  in  the  more  advanced  grades  by  stencil  or  wood 
block  printing. 

For  designs  in  squares,  ohlongs,  etc.,  in  which  nature 
forms  are  not  used,  two  papers  of  the  required  shape 
and  of  contrasting  tones  (as  black  and  manila)  are  laid 
one  over  the  other.  The  upper  paper  is  divided  geo- 
metrically by  free  cutting  and  the  pattern  secured  by 
modifications  in  the  contour  of  the  parts.  In  the  more 
advanced  work  a  freehand  drawing  is  made  from  the 
unit  and  the  design  developed  in  ink  or  color;  or,  a 
stencil  or  a  wood  block  may  be  made  from  the  draw- 
ing, and  the  designs  printed  in  ink  or  color. 

Flower  and  landscape  compositions  are  drawn  in  out- 
line from  original  sketches  and  developed  in  ink  or 
color. 

Lettering.  Exercises  in  hand  lettering  afford  oppor- 
tunity for  the  application  of  principles  of  spacing  and 
arrangement  familiar  to  pupils  through  their  work  in 
design,  and  lead  to  an  appreciation  of  the  close  relation 
that  exists  between  the  fine  and  the  industrial  arts. 

The  importance  of  memorizing  the  form  and  pro- 
portions of  each  letter  must  be  borne  in  mind  in  prac- 
ticing hand  lettering  from  a  fine  original;  the  serifs 
also,  which  are  the  tool  marks  of  the  letter  as  origi- 
nally formed,  should  be  carefully  studied. 

A  broad-nibbed  quill  or  steel  pen  or  a  reed  or  stick 
sharpened  to  a  chisel  edge  is  recommended  for  hand 
lettering  in  these  grades,  in  preference  to  either  brush 
or  charcoal,  which  are  less  exact.  Teachers  are  referred 
to  '^ Writing  and  Illuminating  and  Lettering,'^  by 
Edward  Johnston  (Macmillan  Co.)  for  the  history  and 
technique  of  the  subject,  and  for  suggestions  in  regard 
to  penmaking,  etc. 


ELEMENTARY  GRADES  19 

3.    Methods  in  Memory  Drawing 
Memory  drawing  is  recommended  not  only  in  record- 
ing observations  and  experiences  at  home  and  out  of 
doors,  but  also  as  a  valuable  aid  to  the  study  of  the  form 
of  objects  in  classroom  exercises.     Free  brush  drawing 
with  ink  is  recommended  for  memory  drawings  of  hirds, 
animals,  etc.,  from  life,  and  of  figures  actually  in  motion,  i 
as  in  games.    A  pose  suggesting  a  gamB  or  occupation,/\ 
which  can  only  be  held  for  a  moment  or  two,  is  suitably/  ' 
for  a  memory  drawing. 

Interesting  buildings  or  localities  in  the  neighbor- 
hood of  the  school  are  also  suitable  subjects  for  mem- 
ory drawing.  For  these  pencil  or  charcoal  is  recom- 
mended, or  in  the  earlier  grades,  colored  chalk. 

4.    Methods  in  Illustration 

Original  illustration  in  these  grades  is  closely  related 
to  memory  drawing  and  also  to  the  work  in  composition 
and  design.  Drawings  illustrating  individual  or  class 
experiences,  indoors  or  out  of  doors,  are  suitable  in 
every  grade.  The  natural  aptitude  of  the  younger 
children  for  this  work  shows  in  their  instinctive  use  of 
the  principles  of  good  composition  in  telling  their  story. 
Beginning  with  the  sixth  grade,  an  effort  is  made  to 
explain  these  principles  through  the  study  of  the  prin- 
ciples of  composition  in  masterpieces,  and  to  encourage 
pupils  to  apply  these  principles  definitely  in  their  orig- 
inal work.  Subjects  for  original  illustration  will  be 
found  in  the  activities  of  home  and  school  life  and  in  the 
literature  of  the  grade. 

5.  Methods  in  the  Use  of  Masterpieces  and  Museums 

■ 
The  examples  from  Masters  in  these  books.have  been 

selected  for  charm  of  composition,  of  technique,  and  of 


20  MANUAL  CHICAGO  ART  COURSE 

subject.  They  should  be  used  as  a  means  of  awakening 
appreciation  of  these  qualities  in  a  work  of  Art  and  of 
inspiring  pupils  to  embody  the  essential  principles  of 
harmony  in  their  ow^n  work.  They  are  not  intended  for 
copying,  but  for  study;  to  supply  illustrative  material 
by  means  of  which  teachers  may  make  clear  to  pupils 
the  meaning  of  the  terms  used  in  the  Study  Course, 
establish  standards  in  the  handling  of  different  me- 
diums, and  show  the  application  in  a  fine  way  of  the 
principles  of  composition  which  govern  both  structure 
and  ornament  in  a  work  of  Art. 

The  heading  at  the  top  of  each  page,  together  with 
the  title  or  description  printed  under  each  example, 
will  help  pupils  to  understand  the  reason  why  the  pic- 
ture or  design  has  been  selected  for  study,  the  medium 
used,  and  the  place  where  the  original  may  be  found, 
and  suggest  an  Art  vocabulary  suited  to  their  needs. 
The  illustrations  from  Masters  may  be  used  as  the 
basis  for  language  and  history  lessons,  and  in  the  study 
of  different  processes  of  reproduction  and  of  different 
ways  of  applying  the  principles  of  Art  construction  to 
textiles,  wood,  metal,  clay,  etc.  Pupils  should  be 
encouraged  to  visit  Art  exhibitions.  Museums,  and 
Libraries,  to  identify  where  possible  the  originals  of 
the  reproductions  in  their  books,  to  learn  their  use  and 
their  history,  and  to  discover  for  themselves  other 
examples  of  the  Art  principles  they  are  studying.  Spe- 
cific suggestions  for  the  use  of  each  illustration  are 
given  elsewhere  in  this  pamphlet,  in  the  section  de- 
voted to  the  description  of  the  pages. 


V    DESCRIPTION  OF  PAGES 

BOOK  IV 

Pages  2,  3,  and  4 

Drawings  from  Nature,  in  color,  charcoal,  and  ink. 
These  drawings  indicate  subjects  and  technique  suit- 
able for  the  grade  and  give  examples  of  characteristic 
form  and  position  in  leaves .  and  petals,  details  of 
growth  in  stems,  color,  and  color  values. 

Page  2  gives  two  examples  of  colored  chalk  draw- 
ings: the  Drooping  Lily,  fig.  (a),  and  the  Gaillardia, 
fig.  (b),  to  show  the  use  of  this  medium  in  color  expres- 
sion. Pupils'  attention  should  be  called  to  the  handling 
of  the  chalk  in  these  drawings  and  to  the  way  the 
colors  blend  when  drawn  lightly  one  over  the  other 
without  rubbing. 

Page  3  shows  the  use  of  charcoal  in  expressing  color 
values.  In  the  Poppy,  fig.  (a),  leaves  and  petals  are  of 
different  colors,  but  are  represented  in  the  same  tone, 
because  they  are  of  the  same  color  value.  In  the  Petu- 
nia, fig.  (b),  the  dark  and  light  colors  are  expressed 
by  dark  and  light  tones.  The  same  method  of  express- 
ing color  values  is  used  in  the  charcoal  drawings  on 
pages  5  and  6;  and  pupils  may  be  referred  to  these 
pages  also  when  studying  charcoal  technique. 

Page  4  gives  three  examples  of  free  brush  drawing 
in  ink :  the  Lady  Slipper  or  Indian  Moccasin,  fig.  (a) ; 
th3  Japanese  Iris,  fig.  (b)  ;  and  the  Daisy,  fig.  (c). 
The  characteristics  of  each  specimen  are  well  expressed 
in  the  silhouette.  Attention  should  be  called  to  the 
clear,  firm  edges  of  the  drawing,  and  pupils  should  be 

21 


22  MANUAL  CHICAGO  ART  COURSE 

taught  from  the  beginning  how  to  secure  similar 
results  by  correct  position  and  brush  handling.  The 
same  technique  is  illustrated  in  the  drawings  from  life 
on  pages  5  and  7. 

Page  5 

Drawings  from  the  Figure.  Fig.  (a)  is  a  drawing 
made  directly  from  the  pose,  showing  characteristic 
form,  position,  and  dark  and  light  tones  of  color.  Fig. 
(b)  is  a  drawing  made  from  memory,  an  out-of-door 
subject.  Fig.  (c)  suggests  a  pose  which  may  have 
been  drawn  either  from  memory  or  from  the  pose. 
These  drawings  as  well  as  the  illustrations  on  pages 
12  and  14  will  be  found  helpful  in  making  clear  the 
importance  of  attention  to  form,  color,  and  position  in 
expressing  character. 

Pages  6,  7,  and  8 

Photographs  and  Drawings  from  Life  and  from 
Nature.  The  photographs  on  pages  6  and  8,  in  addi- 
tion to  suggesting  suitable  subjects  for  study,  will  be 
helpful  to  children  whose  out-of-door  experiences  are 
limited,  in  imaging  the  characteristic  appearance  of 
animals,  trees,  etc.,  the  names  of  which  have  become 
familiar  to  them  through  the  literature  of  the  grade. 
The  trees  selected  for  the  photographs  on  page  8  are 
typical  in  form  and  show  a  characteristic  environment. 

Page  6,  figs,  (a)  and  (b),  gives  two  drawings  of 
a  Wren;  fig.  (c)  a  drawing  of  a  Rooster;  figs,  (d),  (e), 
and  (f)  show  a  Greyhound,  an  Airedale  Terrier,  and 
a  Collie,  in  characteristic  positions.  Page  7  gives  ink 
drawings  of  a  Hen,  fig.  (a) ;  a  Pigeon,  fig.  (b) ;  a  Red 
Squirrel,  fig.  (c) ;  and  an  Eagle,  fig.  (d). 

The  charcoal  drawings  on  page  6  and  the  ink  draw- 


ELEMENTARY  GRADES  23 

ings  on  page  7  illustrate  the  technique  suited  to  the 
work  pf  this  grade. 

Pages  9,  10,  11,  and  Fig.  (b)  on  Page  13 

Landscapes.  These  examples  suggest  suitable  sub- 
jects for  memory  or  out-of-door  sketching,  also  the 
use  of  landscape  in  story  illustration.  Each  picture 
with  its  title  tells  a  definite  story.  All  show  charac- 
teristic features  of  country  life  and  scenery.  They  will 
help  the  pupils  to  image  the  environment  in  which  the 
action  is  supposed  to  have  taken  place,  and  to  realize 
the  necessity  for  a  choice  of  definite  subjects  and  pleas- 
ing arrangements  in  their  original  work. 

Page  10  gives  an  example  of  charcoal  technique  for 
landscape  illustration. 

Pages  12,  13,  14,  and  15 

Pictures  Illustrating  Child  Life.  Page  12,  and  figs, 
(b)  and  (c)  on  page  13,  give  examples  of  different 
environments,  showing  the  use  of  the  figure  in  illus- 
tration. 

Page  14  gives  two  fine  examples  of  portraiture,  show- 
ing the  treatment  of  the  figure  in  simple  dark  and  light 
masses.  Fig.  (a),  page  13,  shows  an  interesting  sil- 
houette of  large  and  small  masses  against  sky  and 
water. 

Page  15  is  introduced  especially  to  familiarize  pupils 
with  a  fine  composition  involving  figures. 

Pages  16,  17,  18,  19,  and  20 

Design.  These  pages  illustrate  the  meaning  of  the 
terms  used  in  teaching  design,  and  suggest  to  the  pupils 
ways  of  working  out  the  problems  assigned  them. 


24  MANUAL  CHICAGO  ART  COURSE 

Pages  16  and  17  show  units  from  nature  forms,  and 
designs  in  which  nature  forms  are  used  as  repeats.  In 
studying  the  units  at  the  top  of  page  16,  figs,  (a)  to  (f ) 
inclusive,  attention  should  be  called  to  the  relative  pro- 
portions of  leaf  and  flower,  flower  and  stem,  etc.  that 
is,  to  the  principle  of  subordination  which  they  exem- 
plify. In  figs,  (d),  (e),  and  (f)  this  principle  is  illus- 
trated in  the  characteristic  proportions  of  the  forms 
used;  in  figs.  (a),,  (b),  and  (c)  and  in  the  units  in  the 
repeated  patterns  on  pages  16  and  17,  stems  have  been 
shortened,  turned,  etc.,  and  leaves  and  flowers  modified, 
to  make  them  conform  to  this  decorative  principle. 

In  studying  the  repeated  patterns,  attention  should 
be  called  to  the  rhythmical  arrangement  of  the  units 
and  to  the  dark  and  light  pattern  produced  by  the 
spacing  and  arrangement. 

Fig.  (i)  on  page  16  shows  the  use  of  one  of  the  units, 
fig.  (a),  in  a  surface  pattern.  Figs,  (a)  and  (b)  on 
page  17  show  two  different  units  derived  from  the 
Daisy,  a  drawing  of  which  appears  on  page  4. 

Pages  18  and  19  show  designs  made  by  modifying 
squares,  circles,  oblongs,  and  triangles,  also  borders 
and  surface  patterns  made  with  square  and  oblong 
units.  They  illustrate  the  principles  of  subordination 
and  rhythm  not  only  in  the  proportion  of  the  units, 
but  also  in  the  spacing  of  the  units  in  the  repeated 
patterns. 

Figs,  (g)  and  (h)  show  a  design  in  which  the  same 
pattern  is  used  for  two  different  dark  and  light  ar- 
rangements, illustrating  the  importance  of  pattern  in 
spacing.  Fig.  (i)  shows  a  motive  from  fig.  (c)  used  in 
a  surface  pattern.  Other  modifications  will  suggest 
themselves  to  the  children  after  they  have  studied  the 
designs    on   these    pages.      The    examples    of   applied 


ELEMENTARY  GRADES  25 

design  on  pages  21,  22,  and  23  may  also  be  studied  for 
suggestions. 

Page  20  gives  an  alphabet  and  numerals  in  Roman 
capitals,  and  suggestions  for  the  use  of  lettering  and 
decorative  patterns  in  simple  book  covers.  In  studying 
the  alphabet  for  use  in  original  work,  the  form  and 
proportions  of  each  letter  are  to  be  carefully  noted, 
also  the  serifs  which  mark  the  beginnings  and  ends  of 
the  longer  strokes.  The  letters  used  in  the  titles  of  the 
book  covers,  figs,  (c),  (d),  and  (e),  are  made  with  a 
wooden  pen. 

Pages  21,  22,  and  23 

.  Examples  of  Applied  Design.  These  should  be 
studied  as  examples  of  fine  rhythm  and  pattern  in 
design.  The  examples  on  page  21  are  drawings  from 
photographs.  The  examples  on  pages  22  and  23  have 
been  selected  especially  to  illustrate  the  application  of 
design  to  various  textiles.  They  show  how  texture 
influences  pattern  and  how  both  pattern  and  texture 
are  enriched  by  color. 

BOOK  V 

Pages  2,  3,  4,  and  5 

Drawings  from  Nature,  in  color,  charcoal,  and  ink. 
These  drawings  suggest  subjects  and  technique  suit- 
able for  the  grade,  and  give  examples  of  characteristic 
form,  position,  color  and  color  values  in  leaves  and 
petals,  and  of  details  of  growth  in  stems,  etc. 

Page  2  gives  two  examples  of  free  brush  drawing  in 
water  color;  the  Tulip,  fig.  (a),  and  the  Zinnia,  fig. 
(b).  Pupils'  attention  should  be  called  to  the  simple 
direct  handling  of  the  brysh  in  these  drawings  and  to 
the  way  in  which  the  colors  have  been  mixed  in  the 
brush. 


26  MANUAL  CHICAGO  ART  COURSE 

Page  3  shows  the  use  of  charcoal  in  expressing  color 
values.  In  the  drawing  of  the  Crab  apple,  fig.  (a),  the 
dark  and  light  colors  of  the  leaves  and  fruit  are  ex- 
pressed by  the  dark  and  light  tones  of  charcoal.  In  the 
drawing  of  the  Apple  Blossoms,  fig.  (b),  a  gray  back- 
ground has  been  placed  behind  the  flowers,  thus  mak- 
ing it  a  three-tone  study. 

Page  4  gives  two  examples  of  free  brush  drawing 
in  ink;  the  Petunia,  fig.  (a),  and  the  Cyclamen,  fig. 
(b).  The  characteristics  of  each  specimen  are  expressed 
in  the  silhouette.  Attention  should  be  called  to  the 
clear,  firm  edges  of  the  drawing,  and  pupils  should  be 
taught  how  to  secure  similar  results  by  correct  brush 
handling. 

On  page  5  the  examples  of  free  brush  drawing  from 
trees  illustrate  the  same  technique.  In  the  Pine,  fig. 
(a),  the  Cottonwood,  fig.  (b),  and  the  Lombardy  Pop- 
lar, fig,  (c),  characteristic  form  and  growth  are  ex- 
pressed, and  a  study  of  these  drawings  will  help 
pupils  to  concentrate  on  the  important  elements  in 
their  own  work. 

Pages  6  and  7 

Animals,  etc.,  from  Life.  The  charcoal  and  ink 
drawings  on  page  6  illustrate  subjects  and  technique 
suitable  for  drawings  from  life  and  from  memory  in 
this  grade.  In  both  mediums  the  characteristic 
form  is  expressed  in  the  silhouette;  in  the  charcoal 
drawings  the  different  colors  are  expressed  by  char- 
coal tones.  Fig.  (b)  on  page  6  is  a  photograph  suggest- 
ing the  use  of  the  camera  in  recording  characteristic 
positions  and  familiar  types.  The  photographs  of  the 
Deer  on  page  7  and  of  Old  Deerfield  on  page  12  will 
suggest  to  the  pupils  subjects  for  out-of-door  observa- 
tion.   The  four  illustrations  on  page  7  are  full  of  sym- 


ELEMENTARY  GRADES  27 

pathy  and  understanding  and  will  help  to  dignify  the 
study  of  animal  life  and  to  cultivate  appreciation.  The 
illustrations  on  pages  11  and  15  may  also  be  studied 
in  connection  with  this  page,  as  showing  examples  of 
animals  in  characteristic  positions  and  environment. 

Pages  8  and  9 

Drawings  from  the  Figure.  Page  ^suggests  poses 
suitable  for  the  grade,  also  technique  in  charcoal  and 
ink.  Figs,  (a)  and  (b)  are  drawings  made  directly 
from  the  pose,  showing  characteristic  form,  position, 
and  dark  and  light  tones  of  color.  Fig.  (c)  is  a  brush 
drawing  in  ink  which  may  have  been  made  either 
directly  from  the  pose  or  from  memory  of  a  pose  or 
game. 

In  the  portraits  on  page  9,  the  fine  composition  and 
simple  treatment  of  dark  and  light  masses  emphasize 
the  charm  of  character  and  proportion  in  the  figures, 
and  call  attention  to  the  importance  of  care  in  arrange- 
ment and  of  concentration  upon  essentials  in  a  drawing. 

Pages  10,  11,  12,  13,  14,  and  15 

Landscapes;  from  Paintings,  from  Photographs,  and 
from  Drawings.  The  illustrations  on  these  pages  show 
characteristic  features  of  city  and  country  scenery, 
interesting  compositions  in  dark  and  light,  and  the  use 
of  figures  and  landscape  in  story  illustration.  Each 
picture  with  its  title  tells  a  definite  story  and  suggests 
the  intimate  connection  between  the  environment  and 
the  action  in  the  story.  Onpages  13,  14,  and  15  will  be 
found  examples  of  charcoal  drawing,  the  technique 
of  which  will  be  easily  ^understood  by  children  and 
will  suggest  to  them  ways  of  handling  the  medium  in 
their  original  work. 


28  MANUAL  CHICAGO  ART  COURSE 

Pages  16,  17,  18,  and  19 

Design.  Pages  16  and  17  show  units  derived  from 
nature  forms  and  designs  in  which  nature  units  are 
used  as  repeats.  In  studying  the  units  at  the  top  of 
page  16,  figs,  (a)  to  (f)  inclusive,  attention  should  be 
called  to  the  relative  proportions  of  leaf,  flower,  stem, 
etc.,  and  to  the  way  in  which  they  have  been  modified 
in  accordance  with  the  principle  of  subordination,  at 
the  same  time  retaining  their  characteristic  form.  This 
principle,  also  rhythm  of  line  and  continuity  of  pat- 
tern, are  exemplified  in  the  borders,  etc.,  on  pages  16 
and  17.  Fig.  (i)  on  page  16  shows  the  use  of  a  unit 
derived  from  the  Cyclamen,  a  drawing  of  which  ap- 
pears on  page  4.  Figs,  (g)  and  (h)  suggest  varying 
a  design  by  reversing  the  dark  and  light  spacing,  to 
develop  appreciation  of  the  importance  of  rhythm  and 
pattern  in  spacing.  Fig.  (c)  on  page  17  shows  the  use 
of  one  of  the  units  from  page  16  in  a  surface  pattern. 
Figs,  (d)  and  (e)  on  page  17  show  arrangements  of 
units  in  panels,  illustrating  the  same  principles  as  the 
borders  and  surface  patterns. 

Page  18  gives  examples  of  designs  in  squares  and 
oblongs,  and  the  use  of  square  and  oblong  units  in 
repeated  patterns.  These  show  how  pattern  is  secured 
by  modifications  in  the  contour  of  the  dark  and  light 
spaces. 

The  examples  of  applied  design  on  pages  20,  21,  22, 
and  23  may  also  be  referred  to  for  suggestions. 

Page  19  repeats  from  Book  IV  the  alphabet  in  Roman 
capitals  and  gives  suggestions  for  the  use  of  lettering 
and  decorative  patterns  and  panels  in  simple  book 
covers.  In  studying  the  alphabet  for  use  in  original 
work,  the  form  and  proportions  of  each  letter  are  to 


ELEMENTARY  GRADES  29 

be  carefully  noted,  also  the  serifs  which  mark  the  be- 
ginning and  end  of  the  longer  strokes.  The  letters  in 
the  title  of  the  book  cover,  fig.  (c),  are  made  with  a 
wooden  pen ;  in  fig.  (d)  with  charcoal. 

Pages  20,  21,  22,  and  23 

Examples  of  Applied  Design.  These  pages  show  the 
use  of  design  in  weaving,  needlework,  and  basketry. 
They  have  been  selected  not  only  for  fineness  of  design 
but  also  to  illustrate  the  relation  between  texture,  color, 
and  pattern  and  to  show  how  the  one  may  enrich  the 
other.  They  should  be  studied  in  connection  with 
pages  16,  17,  18,  and  19,  as  fine  examples  of  rhythm 
and  pattern  and  of  color  harmony  in  design. 

BOOK  VI 

Pages  3,  4,  5,  10,  and  18.    Fig.  (a)  on  Page  6 

Drawings  from  Nature.  These  pages  suggest  sub- 
jects suitable  for  the  grade  and  give  examples  of  char- 
acteristic form,  foreshortening  and  growth  in  flowers, 
foliage,  etc.,  and  of  technique  in  charcoal,  brush  and 
ink,  and  water  color. 

The  Gentian  on  page  3  is  a  fine  example  by  a  Master 
of  characteristic  form  and  nature  coloring  in  simple 
flat  masses. 

Page  4  gives  two  examples  of  free  brush  drawing  in 
water  color;  the  Iris,  fig.  (a),  and  the  Hyacinth,  fig. 
(b).  Pupils'  attention  should  be  called  to  the  simple, 
direct  handling  of  the  brush  in  these  drawings  and  to 
the  way  in  which  the  colors  have  been  mixed  in  the 
brush. 

Pages  5  and  18  and  fig.  (a)  on  page  6,  give  examples 
of  charcoal  drawing  from  nature.  In  the  Iris,  fig.  (a), 
page  5,  the  dark  and  light  colors  of  fiowers  and  leaves 


30  MANUAL  CHICAGO  ART  COURSE 

are  expressed  by  dark  and  light  tones.  In  the  Gera- 
nium on  page  6,  the  different  colors,  being  of  the  same 
value,  are  represented  by  similar  tones.  In  the  Peony, 
^g.  (b),  a  gray  background  has  been  placed  behind  the 
flowers,  thus  making  it  a  three-tone  study.  Page  18 
shows  a  drawing  of  a  group  of  Willow  trees,  the  char- 
acteristic growth  expressed  in  well-studied  dark  and 
light  masses  and  with  simple  direct  handling  of  the 
charcoal.  Other  charcoal  drawings  of  trees  may  be 
found  in  the  landscape  by  William  Morris  Hunt  on 
page  22. 

Page  10  gives  two  examples  of  fr6e  brush  drawing  in 
ink;  the  Nasturtium,  fig.  (a),  and  the  Blueberry,  fig. 
(b).  The  characteristics  of  each  plant  are  expressed  in 
the  silhouette.  The  subjects  have  been  selected  espe- 
cially for  their  interesting  detail  of  form,  with  a  view 
to  using  them  in  design. 

Pages  6  and  7 
Drawings  from  Objects.  These  pages  show  the  use 
of  charcoal  in  representing  pottery  and  nature  forms 
in  simple  tones,  indicating  the  value  of  each  color. 
The  effects  of  foreshortening  and  of  group  composition 
upon  the  appearance  of  objects  should  be  studied  in 
these  examples.  Page  7  shows  an  interesting  arrange- 
ment of  objects  in  different  colors  and  values. 

Pages  8  and  9 
Drawings  from  Life.  Page  8  shows  animals  drawn 
from  life  at  Lincoln  Park  Zoo.  These  drawings  sug- 
gest the  wider  field  which  the  study  of  animals  may 
take  when  children  are  old  enough  to  go  about  with  a 
sketchbook  and  work  independently.  Page  9  is  a 
memory  drawing,  a  fine  example  of  the  use  of  brush 
and  ink,  by  a  Master. 


ELEMENTARY  GRADES  31 

Pages  11  and  12 

Design.  Nature  Units  in  Borders  and  Surface  Pat- 
terns. Page  11  gives  examples  of  free  brush  drawing. 
Figs,  (a),  (b),  (f),  and  (g)  show  the  use  of  units  de- 
rived directly  from  nature;  figs,  (c),  (d),  and  (e)  show 
an  imaginative  treatment  of  nature  forms  from  mem- 
ory. The  units  in  figs,  (b)  and  (f)  are  from  the 
Blueberry,  a  drawing  of  which  appears  on  page  10. 
In  studying  the  units  at  the  top  of  page  12,  figs,  (a) 
to  (f)  inclusive,  attention  should  be  called  to  the  rela- 
tive proportion  of  leaf  and  flower,  etc.,  and  to  the  way 
in  which  both  proportion  and  contour  have  been  modi- 
fied to  make  them  conform  to  the  principles  of  rhythm 
and  subordination,  at  the  same  time  preserving  their 
essential  character.  In  the  borders  and  surface  pat- 
terns on  page  12,  figs,  (g),  (h),  (i),  and  (j),  the  deco- 
rative principles  referred  to  above  are  illustrated  in 
the  arrangement  of  the  units  and  in  the  distribution 
of  dark  and  light  spaces  in  the  pattern.  Figs,  (g)  and 
(j)  show  the  use  of  two  of  the  units  in  repeated  pat- 
terns. Pages  24,  25,  26,  and  28  may  also  be  referred 
to  for  suggestions. 

Pages  13  and  14 

Design.  These  pages  give  examples  of  designs  in 
squares  and  circles,  and  of  the  use  of  rectangular  and 
circular  units  in  borders  and  surface  patterns.  They 
show  how  pattern  is  secured  by  modifications  in  the 
contour  of  the  dark  and  light  spaces.  Fig.  (f)  on 
page  13  and  fig.  (c)  on  page  14  show  the  use  of  two 
of  the  units  in  repeated  patterns.  Fig.  (h)  on  page  13 
introduces  a  new  problem,  i.  e.,  the  use  of  three  tones 
in  design. 


32  MANUAL  CHICAGO  ART  COURSE 

In  the  borders  and  surface  patterns  units  have  been 
modified  when  necessary  to  improve  the  rhythm  and 
continuity  of  the  pattern.  Pupils  may  also  be  referred 
to  pages  24,  25,  26,  and  28  for  suggestions. 

Page  15 

Suggestions  for  Applied  Design.  This  page  gives  an 
alphabet  in  Roman  capitals  and  suggests  the  use  of  let- 
tering and  decorative  compositions  in  the  making  of 
book  covers,  calendars,  etc.  In  studying  the  alphabet 
for  use  in  original  work,  the  form  and  proportions  of 
each  letter  are  to  be  carefully  noted,  also  the  serifs 
which  mark  the  beginning  and  end  of  the  longer 
strokes.  The  letters  in  the  title  of  the  book  cover,  fig. 
(d),  and  in  the  calendar,  fig.  (b),  are  made  with  a 
broad-nibbed  pen.  The  letters  in  the  book  cover,  fig. 
(a),  are  made  with  charcoal  and  in  fig.  (c)  with  a 
brush. 

Page   16 

Drawings  from  the  Figure.  The  drawings  on  this 
page  show  positions  of  the  figure  suitable  for  object 
drawing  in  this  grade  and  suggestive  of  the  possible 
use  of  the  figure  in  story  illustration.  Figs,  (a),  (b), 
and  (c)  are  quick  sketches  from  memory,  from  out-of- 
door  observation  or  from  poses  held  for  only  a  brief 
period  of  time.  In  the  drawings  from  the  pose,  figs, 
(d),  (e),  (f),  and  (g),  charcoal  has  been  used  to  give 
opportunity  for  expressing  color  values. 

Page  17 

Landscape  with  Figures.  This  page  gives  a  fine 
example  of  composition  in  dark  and  light  tones  and  of 
the  use  of  the  figure  in  story  illustration. 


ELEMENTARY  GRADES  33 

Pages  19,  20,  21,  22,  and  23 

Landscape  Illustration.  Pages  19  and  20  suggest  a 
method  of  studying  the  principles  of  composition,  pre- 
paratory to  original  work.  Page  19  shows  a  way  of 
studying  the  details  of  composition  in  a  fine  landscape. 
Page  20  shows  a  number  of  compositions  of  roofs,  tow- 
ers, etc.,  selected  from  a  photograph.  By  the  use  of 
an  adjustable  finder  pupils  may  identify  each  of  the 
smaller  compositions  on  these  pages,  figs,  (b),  (c),  (d), 
(e),  and  (f),  which  have  been  taken  from  the  larger 
picture,  fig.  (a).  They  may  then  sketch  similar  sub- 
jects from  the  window  or  from  out  of  doors,  and  use 
the  finder  in  making  selections  from  them.  The  same 
method  may  be  applied  in  studying  the  landscapes  on 
pages  21,  22,  and  23. 

The  landscapes  on  pages  21,  22,  and  23  show  the 
importance  of  the  application  of  the  principles  of  com- 
position in  the  making  of  a  picture.  In  each  picture, 
principal  and  subordinate  masses  are  so  arranged  as  to 
tell  clearly  the  story  indicated  by  the  title,  and  the 
dark  and  light  masses  are  so  distributed  as  to  form  pat- 
terns which  will  be  readily  seen  by  children.  Page  22 
has  been  selected  especially  for  the  play  of  pattern 
through  the  trees,  and  for  the  directness,  simplicity, 
and  character  in  the  charcoal  technique. 

Pages  24,  25,  26,  and  28 

Examples  of  Applied  Design.  These  pages  show  the 
application  of  design  to  different  materials.  They  have 
been  selected  not  only  for  beauty  of  design,  but  also 
to  illustrate  the  relation  between  color,  texture,  and 
pattern,  and  to  show  how  the  one  may  enrich  the  other. 
They  should  be  studied  in  connection  with  pages  12, 


34  MANUAL  CHICAGO  ART  COURSE 

13,  and  14,  as  fine  examples  of  subordination  and 
rhythm  in  pattern,  of  color  harmony  and  distribution 
of  color  in  design. 

Page  27 

Examples  of  Clay  Modeling.  The  illustrations  on 
this  page  show  the  use  of  the  principles  of  composi- 
tion in  exercises  in  a  plastic  medium.  Figs,  (a),  (b), 
and  (c)  show  the  use  of  geometric  design  in  the  making 
of  tiles;  fig.  (d)  shows  a  nature  subject  arranged  as  a 
decorative  panel;  fig.  (e)  shows  how  clay  may  be  used 
in  original  illustration. 

BOOK  VII 

Pages  4  and  5 

Drawings  from  Groups.  The  examples  given  show 
the  use  of  charcoal  and  color  in  the  representation  of 
pottery  and  nature  forms  in  simple  tones.  They  sug- 
gest subjects  suitable  for  the  grade,  illustrating  the 
principles  of  perspective  and  group  composition  and 
a  characteristic  rendering  of  details  of  color  and 
structure. 

Pages  6  and  7 

Drawings  from  Nature.  These  drawings  suggest 
subjects  suitable  for  the  grade  and  give  examples  of 
characteristic  form,  foreshortening,  and  growth  in  flow- 
ers, foliage,  etc.,  and  of  technique  in  charcoal,  pencil, 
and  ink.  In  the  drawing  of  the  Canterbury  Bells,  fig. 
(a)  on  page  6,  the  color  values  are  expressed  by  tones 
of  charcoal.  In  the  drawing  of  the  Morning  Glory, 
fig-  (b),  pencil  is  used,  to  concentrate  attention  upon 
the  study  of  detail  and  structure.  Both  these  examples 
suggest  the  advance  the  nature  drawings  in  this  grade 
should  show  over  those  in  the  grades  below.    On  page 


ELEMENTARY  GRADES  35 

7,  the  Fuchsia,  fig.  (a),  the  Apple  Blossom,  fig.  (e),  and 
the  Checkerberry,  fig.  (f),  suggest  suitable  subjects 
for  free  brush  drawing  in  this  grade.  The  characteris- 
tics of  each  plant,  including  details  of  growth  and 
position,  are  expressed  in  the  silhouette.  Figs,  (b), 
(c),  and  (d)  suggest  a  way  of  studying  selected  details 
with  a  view  to  making  use  of  them  in  design. 

Page  8  '  /-^ 

Design.  Flower  Compositions.  The  examples  on  this 
page  suggest  subjects  and  arrangements  suitable  for 
original  compositions.  Pupils  who  have  acquired  some 
appreciation  of  rhvjhm  and  pattern  in  the  making  of 
units  and  repeated  patterns  will  recognize  the  necessity 
for  applying  the  same  principles  in  the  selection  and 
arrangement  of  flower  forms  in  a  decorative  panel. 
Figs,  (d)  and  (e)  show  a  line  pattern  and  a  dark  and 
light  pattern  from  the  same  study;  figs,  (f)  and  (g) 
suggest  reversing  the  distribution  of  dark  and  light  in 
a  composition  to  develop  appreciation  of  space  rela- 
tions. Figs,  (a),  (b),  and  (c)  show  three  variations  of 
the  same  line  pattern.  The  examples  of  flower  panels 
in  color  on  page  26  may  be  studied  in  connection  with 
this  page,  also  the  flower  panels  in  the  book  covers  on 
page  21. 

Page  9 

Design.  The  borders  on  this  page  illustrate  the  prin- 
ciples of  rhythm  and  subordination.  Figs,  (f)  and  (g) 
suggest  a  method  of  varying  a  design  by  varying  the 
distribution  of  dark  and  light  tones.  Figs,  (a)  and  (c) 
show  the  use  of  three  values.  Pages  24,  25,  and  27  may 
also  be  referred  to  for  examples  of  nature  units  in 
applied  design. 


36  MANUAL  CHICAGO  ART  COURSE 

Pages  10  and  11 

Design.  These  pages  give  examples  of  designs  in 
squares  and  oblongs  and  of  borders  and  surface  de- 
signs showing  how  pattern  is  secured  by  modifications 
in  the  contour  of  the  dark  and  light  spaces.  In  the 
surface  patterns  on  page  10,  figs,  (e)  and  (f),  rhythm 
and  continuity  of  pattern,  both  in  the  dark  and  in  the 
light  spaces,  are  secured  by  skillful  arrangement  and 
spacing  of  the  units.  In  the  borders  on  page  11,  figs,  (d) 
and  (e),  the  units  themselves  have  been  modified  to 
make  the  pattern  conform  to  these  principles.  The 
applied  designs  on  pages  24,  25,  27,  and  28  may  also 
be  referred  to  for  examples  of  the  use  of  geometric 
motives  in  applied  design. 

Pages  12  and  13 

Drawings  and  Paintings  from  the  Figure.  Fig.  (a) 
on  page  12  is  a  quick  sketch  in  brush  and  ink  from 
memory.  Charcoal  has  been  used  for  the  drawings 
from  the  pose,  figs,  (b)  and  (c),  to  give  opportunity 
for  the  expression  of  color  values.  The  examples  on 
page  13  show  interesting  grouping  and  environment  in 
figure  compositions  and  suggest  the  use  of  the  figure 
in  story  illustration. 

Pages  14  and  15 

Drawings  from  Nature  and  from  Masterpieces.  Page 
14  gives  examples  of  simple  direct  characterization  of 
tree  types  in  different  mediums:  The  Pine,  fig.  (a); 
the  Birches,  fig.  (b)  ;  the  Fir,  fig.  (c).  In  these  drawings 
the  differences  in  the  branching  of  each  type  are  indi- 
cated, also  the  grouping  of  its  foliage  masses,  each 
medium  being  used  in  a  characteristic  way.    Page  15 


ELEMENTARY  GRADES  37 

shows  the  use  of  free  brush  drawing  in  the  study  of 
landscape  masses.  Figs,  (a)  and  (b)  suggest  the  appli- 
cation of  this  method  in  out-of-door  sketches;  figs,  (c) 
and  (d),  in  the  study  of  two  compositions  by  Corot. 
Any  of  the  landscapes  from  nature  on  pages  16,  17, 

18,  19,  and  20  may  be  studied  in  this  way,  to  cultivate 
appreciation  of  the  essential  structure  in  a  composition 
and  to  give  power  in  original  illustration. 

Pages  3,  16,  17,  18,  19,  and  20 

Examples  of  Landscape  Composition.  The  land- 
scapes on  these  pages  have  been  selected  especially  for 
charm  and  simplicity  of  subject  and  treatment.  They 
should  be  studied  for  color,  for  composition  and  for 
story,  and  to  make  clear  to  pupils  how  the  principles 
of  composition  are  used  in  story  illustration.  The  illus- 
trations on  page  19  and  fig.  (a)  on  page  16  will  be 
helpful  as  examples  of  charcoal  technique.    Pages  17, 

19,  and  20  give  examples  of  buildings  interestingly 
grouped,  and  of  roof  lines  which  make  interesting 
patterns  against  the  sky,  suitable  for  window  sketch- 
ing. By  the  use  of  an  adjustable  finder  portions  of 
any  of  the  pictures  on  these  pages  may  be  selected  and 
enlarged,  to  give  opportunity  for  definite  study  of  the 
principles  of  landscape  composition,  introductory  to 
original  illustration  or  to  out-of-door  or  window 
sketching. 

Page  21 

Suggestions  for  Applied  Design.  This  page  gives 
an  alphabet  in  small  roman  lettering,  also  an  example 
fig.  (c),  of  the  use  of  this  lettering  in  a  book  page. 
Figs,  (a)  and  (b)  suggefit  suitable  arrangements  of 
panels,  titles,  etc.,  in  book  covers. 


38  MANUAL  CHICAGO  ART  COURSE 

Pages  22  and  23 

Examples  of  Design  in  Handwork.  These  pages 
give  examples  of  the  application  of  the  principles  of 
composition  to  designs  in  wood,  metal,  leather,  and  clay. 
They  show  that  design  is  a  matter  of  structure  as  well 
as  of  ornament,  and  that  structure,  function,  and 
material  determine  the  character  and  the  amount  of 
the  ornament  used. 

Pages  24,  25,  26,  27,  and  28 

Examples  of  Applied  Design.  These  pages  show  the 
application  of  design  to  different  materials.  They 
should  be  studied  in  connection  with  pages  8,  9,  10, 
and  11  as  fine  examples  of  spacing,  proportion,  and 
rhythm;  of  color  harmony;  and  of  distribution  of 
color  and  of  dark  and  light  in  design ;  and  to  illustrate 
the  relation  of  texture,  color,  and  pattern  in  design. 

BOOK  VIII 
Pages  4,  7,  8,   and  9 

Drawings  from  Nature.  These  drawings  show  the 
use  of  water  color,  charcoal,  and  pencil  in  expressing 
characteristic  form,  color,  growth,  and  foreshortening 
in  flowers,  foliage,  etc.  In  the  drawing  of  the  Petunias 
on  page  4,  details  of  color  and  of  color  value  are  more 
fully  expressed  than  in  the  examples  given  in  preced- 
ing books  of  the  series,  indicating  closer  study  and 
more  accurate  characterization  of  color  in  free  brush 
drawing.  Pencil  outline  is  used  for  the  drawings  of 
the  Wild  Rose  on  page  7,  to  secure  more  definite  study 
of  characteristic  growth,  foreshortening,  etc.  Figs,  (b) 
to  (i)  inclusive,  suggest  the  study  of  selected  details 
for  use  in  design.    In  the  drawing  of  the  Lily  on  page  8 


ELEMENTARY  GRADES  39 

and  of  the  Snowballs  on  page  9,  dark  and  light  tones 
are  expressed  more  in  detail  than  in  the  examples 
given  in  preceding  books  of  the  series,  indicating  more 
accurate  characterization  of  color  values.  In  the  draw- 
ing of  the  Snowballs  a  gray  background  has  been 
placed  behind  the  flowers,  thus  adding  another  tone 
to  the  study. 

Pages  5  and  6 

Drawings  from  Groups.  The  examples  given  illus- 
trate group  compositions  suitable  to  the  grade.  They 
show  the  use  of  charcoal  and  of  pencil  in  representing 
pottery  and  nature  forms  in  mass  and  in  outline,  and 
suggest  characteristic  rendering  of  details  of  form  and 
color  in  these  mediums.  In  the  drawing  on  page  5,  the 
dark  and  light  tones  are  expressed  more  in  detail  than 
in  the  preceding  books  of  the  series,  indicating  more 
accurate  characterization  of  color  values.  The  relation 
of  the  colors  in  the  objects  to  those  in  the  background 
are  also  included  in  the  study.  Figs,  (a),  (b),  (c), 
(d),  (e),  and  (f)  on  page  6  suggest  a  way  of  studying 
details  of  structure  in  pottery. 

Page  10 
Drawings  from  the  Figure.  The  drawings  on  this 
page  suggest  suitable  poses  for  the  grade,  and  char- 
acteristic handling  of  charcoal  and  pencil  in  expressing 
form  and  color  values.  In  the  half  length  drawing, 
fig.  (a),  the  color  values  in  the  figure  and  in  the  back- 
ground and  their  relation  to  each  other,  are  included  in 
the  study.  Simplicity  in  the  treatment  of  masses  em- 
phasizes the  essential  characteristics  of  each  figure. 

Page  11 
Drawings  from  Nature. •  These  drawings  show  the 
use  of  charcoal  and  pencil  in  the  characterization  of 


40  MANUAL  CHICAGO  ART  COURSE 

both  trees  and  environment.  The  experience  which 
pupils  have  had  in  the  preceding  grade  in  selecting 
compositions  w^ith  a  finder  from  landscape  pictures  will 
help  them  in  the  selection  of  landscape  subjects  out 
of  doors. 

Pages  12  and  20 

Studies  and  Compositions  from  Buildings.  The 
illustrations  on  page  12  give  examples  of  subjects  suit- 
able for  out-of-door  sketching,  window  sketching,  and 
drawings  of  doorways,  interiors,  etc.  Page  20  sug- 
gests the  use  of  out  of  door  sketches  in  original  com- 
position, the  principles  involved  being  the  same  as 
those  involved  in  flower  composition  in  panels  (page 
19).  Figs,  (b)  and  (c)  show  two  compositions  from 
the  same  landscape,  one  in  line  and  one  in  dark  and 
light.  Figs,  (c),  (d),  and  (e)  show  three  different  dis- 
tributions of  dark  and  light  in  the  same  composition, 
suggesting  a  valuable  method  of  developing  apprecia- 
tion of  pattern  in  a  composition.  Fig.  (a)  shows  a 
composition  in  three  values. 

Pages  13,  14,  and  15 

Examples  of  Landscape  and  Figure  Composition. 
These  pages  illustrate  the  close  relation  between  sub- 
ject and  composition  in  a  fine  picture.  They  should 
be  studied  for  the  thought  they  express,  and  as  exam- 
ples of  the  masterly  use  of  line  and  of  dark  and  light 
masses  in  landscape  and  figure  composition.  Pages  13 
and  14  show  characteristic  patterns  formed  by  tree 
masses  silhouetted  against  the  sky;  page  15  shows  a 
group  of  figures  making  an  interesting  pattern  against 
buildings  in  the  background. 


ELEMENTARY  GilAlifig  41 

Pages  3,  16,  17,  and  18 

Design.  The  designs  on  these  pages  show  arrange- 
ments in  line  and  in  dark  and  light,  with  both  geo- 
metric and  nature  motives.  Figs,  (b)  and  (c)  on  page 
16  show  two  variations  of  a  design  in  a  square.  Figs. 
(d),  (e),  (f),  and  (g)  show  four  variations  of  a  design 
in  an  oblong,  and  suggest  a  valuable  inethod  of  devel- 
oping appreciation  of  rhythm  and  proportion  in  spac- 
ing. Fig.  (a)  shows  the  use  of  a  geometric  unit  in  a 
border.  On  page  17,  figs,  (a),  (b),  and  (c),  designs 
made  by  arranging  nature  motives  in  geometric  shapes 
are  shown.  Figs,  (d),  (e),  and  (f)  show  the  use  of 
nature  motives,  principal  and  subordinate,  in  bor- 
ders; fig.  (e)  suggests  a  suitable  adaptation  of 
a  unit  to  the  space  formed  by  the  corner.  Fig. 
(d)  on  page  18  shows  an  alternate  unit  formed  between 
the  geometric  units  in  a  surface  pattern.  The  exam- 
ples on  page  3  suggest  the  use  of  color  in  design,  in  two 
and  three  values.  Fig.  (a)  shows  a  color  scheme  from 
nature,  modified  so  as  to  secure  a  color  harmony;  fig. 
(b)  shows  two  tones  of  one  color;  figs,  (c)  and  (d) 
show  the  use  of  two  colors  with  black.  Pages  22,  23, 
24,  25,  27,  and  28  may  also  be  referred  to  for  examples 
of  the  use  of  nature  and  geometric  motives  in  applied 
design. 

Page  19 

Design:  Flower  Composition  in  Panels.  The  exam- 
ples on  this  page  suggest  subjects  and  arrangements 
suitable  for  original  compositions.  They  illustrate  the 
principles  of  design  upon  which  the  original  work  is  to 
be  based.  Figs,  (d)  and  (e)  show  a  line  pattern  and  a 
dark  and  light  pattern  from  the  same  study.  Figs. 
(a),  (b),  and  (f)  show  the  use  of  two  and  three  tones. 


42  MANUAL  CHICAGO  ART  COURSE 

The  flower  panel  in  color  on  page  26  may  be  referred 
to  in  connection  with  this  page,  also  page  26  of  the 
Seventh  Year  Book. 

Page  21 

Suggestions  for  Applied  Design.  This  page  gives 
examples  of  letters  suitable  for  headings,  book  titles, 
etc.,  in  printing,  needlework,  or  other  handwork  re- 
quiring initials.  Figs,  (b)  and  (c)  suggest  arrange- 
ments of  lettering  and  decorative  panels,  in  book 
covers  and  book  pages. 

Pages  22,  23,  24,  25,  26,  27,  and  28 

Examples  of  Applied  Design.  These  pages  illustrate 
the  close  relation  that  exists  between  structure  and 
ornament  in  a  work  of  art,  and  between  color,  texture, 
and  pattern  in  applied  design.  They  should  be  studied 
in  connection  with  pages  3,  16,  17,  18,  and  19,  as  fine 
examples  of  rhythm  and  proportion  in  spacing,  of 
color  harmony,  and  of  distribution  of  color  and  of  dark 
and  light  in  design.  Page  26  suggests  a  method  of 
studying  color  composition  and  of  selecting  color  schemes 
for  use  in  original  work. 


THIS  BOOK  IS  DUE  ON  THE  LAST  DATE 
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OVERDUE. 


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